Boxcars711 Old Time Radio

While producing films for Columbia Pictures, CBS offered Lucy a Radio show based upon the book, Mr. and Mrs. Cugat by Isabelle Scott Rorick. Lucy was interested, and she was soon teamed with Richard Denning in My Favorite Husband. This half-hour weekly show revolved around the travails of Liz and George Cugat, a very normal, middle-class couple from Minneapolis. Liz is a dizzy, scheming wife who gets into relatively minor but vexing scrapes that makes life challenging for her long-suffering husband, a banker played by Richard Denning. Gale Gordon was the bank president, the same role that was to be his on The Lucy Show. The characters of Liz and George Cugat soon had their names changed to Liz and George Cooper. Her writers for the show were Madelyn Pugh and Bob Carroll, Jr. and the producer-director was Jess Oppenheimer, a connection that would become particularly fruitful in the years to come.

MERRY CHRISTMASThe Glums first appeared in a regular series of sketches during the 1950s in the BBC radio programme, Take It From Here. In the radio version, Pa Glum (Jimmy Edwards) was a bad-tempered old boozer with a tendency to "rant and rave" at his gormless son, Ron (Dick Bentley). The other regular character was Ron's fiancee, Eth (June Whitfield). The original series of sketches ended in March, 1960. The family reappeared briefly in 1962 as part of Jimmy Edwards' BBC television series, Faces Of Jim. In 1978, Frank Muir and Dennis Norden revived The Glums for a series of short sketches in an ITV variety programme, Bruce Forsyth's Big Night. Jimmy Edwards reprised his role as Pa Glum, with Ian Lavender and Patricia Brake taking over the roles of Ron and Eth. A second series of programmes was screened in 1979, each programme consisting of new versions of two of the original radio scripts from the 1950s.

This Is Your FBI was a radio crime drama which aired in the United States on ABC from April 6, 1945 to January 30, 1953. FBI chief J. Edgar Hoover gave it his endorsement, calling it "the finest dramatic program on the air." Producer-director Jerry Devine was given access to FBI files by Hoover, and the resulting dramatizations of FBI cases were narrated by Frank Lovejoy (1945), Dean Carleton (1946-47) and William Woodson (1948-53). Stacy Harris had the lead role of Special Agent Jim Taylor. Others in the cast were William Conrad, Bea Benaderet and Jay C. Flippen.

MERRY CHRISTMASIn October of 1934, "Lux Radio Theater" debuted in New York on NBC's Blue radio network. Presenting audio versions of popular Broadway plays, the show failed to garner an audience and soon ran out of material. After switching networks to CBS and moving to Hollywood, Lux found its true market. The show began featuring adaptations of popular films, performed by as many of the original stars as possible. With an endless supply of hit films scripts and an audience of more than 40 million, Lux enjoyed a prosperous run until the curtain fell in 1956.THIS EPISODE:March 10, 1947. CBS network. "It's A Wonderful Life". Sponsored by: Lux Soap, Spry. Tired of his life on Earth, a man finds out what it's like never to have been born. Jimmy Stewart, Donna Reed, Victor Moore, William Keighley (host), John Milton Kennedy (announcer), Louis Silvers (music director), William Johnstone, John McIntire, Leo Cleary, Edwin Maxwell, Janet Scott, Noreen Gammill, Cliff Clark, Norma Jean Nilsson, Edward Marr, Norman Field, Franklyn Parker, Ann Carter, Charles Seel, Doris Singleton (commercial spokesman: as "Libby"), Susan Blanchard (intermission guest), Frances Goodrich (screenwriter), Albert Hackett (screenwriter), Jo Swerling (screenwriter), Frank Capra (screenwriter), Philip Van Doren (author), Fred MacKaye (director), Sanford Barnett (adaptor), Charlie Forsyth (sound effects). 1 hour.

On January 31, 1936, the Green Hornet radio program aired on WXYZ in Detroit, Michigan. Al Hodge played the part of the Green Hornet from 1936 through January of 1943. The program was created by George W. Trendle, the same man associated with the creation of the Lone Ranger radio show. The premise of the Green Hornet was that of a modern day Lone Ranger. The main character was Britt Reid, a newspaper publisher of the Daily Sentinel by day and the Green Hornet by night. Britt Reid was the great-nephew of the Lone Ranger. Britt Reid's war against crime was an extension of his family history. The Green Hornet fought crime with his high-powered car, the Black Beauty. He also utilized a gun that fired knockout gas instead of bullets. His fists also came in handy on a regular basis. He was assisted by his Filipino valet, Kato. Kato would drive the Black Beauty, keep watch out for the police or the bad guys and sometimes lend a helping fist to the fighting. The Green Hornet pretended to be a villain while really battling the forces of crime in the big city.

"Gone Fishing" (6-01-39) "Violet_Ray" (6-08-39) and "Missing Dollar" (2-22-40)The Baby Snooks Show was an American radio program starring comedienne and Ziegfeld Follies alumna Fanny Brice as a mischievous young girl who was 40 years younger than the actress who played her when she first went on the air. The series began on CBS September 17, 1944, airing on Sunday evenings at 6:30pm as Toasties Time. The title soon changed to The Baby Snooks Show, and the series was sometimes called Baby Snooks and Daddy. In 1944, the character was given her own show, and during the 1940s, it became one of the nation's favorite radio situation comedies, with products from a variety of sponsors (Post Cereals, Sanka, Spic-n-Span, Jell-O) being touted by a half-dozen announcers -- John Conte (early 1940s), Tobe Reed (1944-45), Harlow Willcox (mid-1940s), Dick Joy, Don Wilson and Ken Wilson. Hanley Stafford was best known for his portrayal of Snooks' long-suffering, often-cranky father, Lancelot âDaddyâ Higgins, a role played earlier by Alan Reed on the 1936 Follies broadcasts. Lalive Brownell was âMommyâ Higgins, also portrayed by Lois Corbet (mid-1940s) and Arlene Harris (after 1945). Beginning in 1945, child impersonator Leone Ledoux was first heard as Snookâs younger brother Robespierre, and Snooks returned full circle to the comics when comic book illustrator Graham Ingels and his wife Gertrude named their child Robby (born 1946) after listening to Ledoux's Robespierre baby voices.

The Beulah Show, the first radio and television sitcom to star an African American. The show was broadcast on radio from 1945 to 1954 and seen on TV from 1950 to 1953. Originally portrayed by Caucasian actor Marlin Hurt, Beulah first appeared in 1939 when Hurt introduced the character on the Hometown Incorporated radio series. In 1943, Beulah moved over to That's Life and then became a supporting character on the popular Fibber McGee and Molly radio series. In 1945, Beulah was spun off into her own radio show, The Marlin Hurt and Beulah Show, with Hurt still in the role. Beulah was employed as a housekeeper and cook for the Henderson family: father Harry, mother Alice and son Donnie. After Hurt died of a heart attack in 1946, he was replaced by another white actor, Bob Corley, and the series was retitled The Beulah Show.When black actress Hattie McDaniel took over the role on November 24, 1947, she earned $1000 a week for the first season, doubled the ratings of the original series and pleased the NAACP which was elated to see a historic first: a black woman as the star of a network radio program.McDaniel continued in the role until she became ill in 1952 and was replaced by Lillian Randolph, who was in turn replaced for the 1953-54 radio season by her sister, Amanda Randolph.

This hit radio series with Marie Wilson ran on CBS Radio from April 11, 1947 to August 23, 1954. The TV version, seen on CBS from January 8, 1952 until June 25, 1954, was the first series telecast from the CBS Television City facility in Hollywood. The movie My Friend Irma (1949) starred Marie Wilson and Diana Lynn but is mainly remembered today for introducing Dean Martin and Jerry Lewis to moviegoers, resulting in even more screen time for Martin and Lewis in the sequel, My Friend Irma Goes West (1950).

Television and radio pioneer Jack Par has been called the most imitated personality in broadcasting. He virtually created the late-night talk show format as the host of The Tonight Show , one of television's longest continuously running programs. The Washington Post said, "Jack Paar was genuine, and the footprints he left on the loony moonscape of television are enormous; they will be there forever." As the stars of stage and screen were rising around him, Paar was becoming an icon himself, on television sets in the homes of millions of Americans across the country. During the Golden Age of television, Paar was its golden boy, charming guests and viewers alike. From 1957 to 1962, Paar was the king of late-night television as host of The Tonight Show, which NBC eventually renamed The Jack Paar Show. He turned it from a typical variety format into something very different. With a rare combination of intelligence, irreverence and intuition, he invented a new genre of programming that would become ubiquitous to television.Paar helped launch the careers of such performers as Carol Burnett, Woody Allen and Liza Minnelli, but his guests weren't limited to the glitterati. He discussed religion with Billy Graham, visited Albert Schweitzer in Africa, and talked politics with Richard Nixon, all before the transfixed eyes of the American television audience.

This was ABC's attempt to recapture some of what radio was. The effort was not the best, but at least an effort was made. The stories ranged from science fiction, comedy, social drama and human interest drama, to detective mystery, psychological drama, melodrama and suspense drama. News programs help fill out the remaining time left in the 30 minute time spot from 5 - 5:30 p.m.

Based of the Mickey Spillane series, Larry Haines stars as Mike Hammer-the ever entertaining handsome, violent, hard-boiled private eye. Tune in to any exciting episode which would not be complete without the ever beautiful Velda accompanything Mike while he insults some beautiful dame, takes a mysterious phone call, goes wild with reckless driving, and shoots some his gun off to solve the murder case.

Broadcast from 1936 through to 1947 with just an occasional break. Revived again from January 1956 to September 1957 as CBS Radio Workshop with pretty much the same format. Broadcast from 1936 through to 1947 with just an occasional break. Revived again from January 1956 to September 1957 as CBS Radio Workshop with pretty much the same format. This was drama with a difference. Columbia Workshop was not everybodyâs cup of tea and in terms of audience popularity it was always noted that it was never a strong contender for the title âRadios Top Rated Drama Seriesâ and yet it was always considered to be the drama program that led the way in radio standards. Columbia was the first to mexperiment with what radio drama was all about, introducing new techniques never before used in over the airwaves drama and because it received little encouragement from established writers, actors, etc., it was only by breaking new ground with new ideas and new techniques from writers who were not versed in the old ways that it was going to survive.

Half-hour drama, sometimes comedy, often very exciting and suspenseful. The cast were made up of New York veterans of radio and stage, including Jan Minor and John Larkin as featured performers. The director, Harry W. Junkin, also served as the show's host and narrator. Each week the show introduced a new story, often written by well-known writers of fantasy and suspense such as Ray Bradbury, Cornell Woolrich, Agatha Christie and Paul Gallico. They were dramatized with a full orchestral soundtrack and excellent sound effects.

The Whistler was one of radio's most popular mystery dramas, with a 13-year run from May 16, 1942 until September 22, 1955. If it now seems to have been influenced explicitly by The Shadow, The Whistler was no less popular or credible with its listeners, the writing was first class for its genre, and it added a slightly macabre element of humor that sometimes went missing in The Shadow's longer-lived crime stories. Writer-producer J. Donald Wilson established the tone of the show during its first two years, and he was followed in 1944 by producer-director George Allen. Other directors included Sterling Tracy and Sherman Marks with final scripts by Joel Malone and Harold Swanton. A total of 692 episodes were produced, yet despite the series' fame, over 200 episodes are lost today. In 1946, a local Chicago version of The Whistler with local actors aired Sundays on WBBM, sponsored by Meister Brau beer.

"Are you willing to undertake a dangerous mission for the United States, knowing in advance you may never return alive?" Cloak and Dagger first aired over the NBC network on May 7, 1950. It had a short run through the Summer on Sundays, changing to Fridays after its Summer run. The last show aired Oct. 22, 1950. This is the story of the WWII special governmental agency, the OSS, or Office of Strategic Services. Its mission was to develop and maintain spy networks throughout Europe and into Asia, while giving aid to underground partisan groups and developing espionage activities for Allied forces overseas.The show is based on the book of the same name by Lt. Col. Corey Ford and Major Alastair MacBain (who were associated with the OSS from its early days.) The dramas are not Hollywood-style, in that they sometimes end with plans foiled or leading characters dead.

Burns and Allen are one of the most beloved couple in old time radio. They got started, like many of the greats of old time radio, in vaudeville, which is really just the touring popular entertainment in America prior to movies. Gracie was the sparkplug of the act, always the center of attention. George played the foil, the guy vainly trying to make sense of the ditzy world of Gracie. By the early 30s, Gracie was probably the best known woman on radio. Gracie often sang in a voice that showed she was also an excellent comedienne songstress.

The Casebook of Gregory Hood, starring Gale Gordon in the title role, took over where Sherlock Holmes had left off. Sponsored by Petri wine, it used the same "weekly visit" format and the same team of Anthony Boucher and Dennis Green that had written The New Adventured of Sherlock Holmes. Gregory Hood was modelled after true-life San Francisco importer Richard Gump, and many of the stories revolve around a mystery surrounding some particular imported treasure. Hood's sidekick Sanderson "Sandy" Taylor was played by Bill Johnstone. The show aired from June, 1946 through August, 1950. There were an additional couple of shows aired in October 1951. Hood and Sanderson were played in later episodes by Elliott Lewis and Howard McNear, respectively.

"WAYSIDE THEATRE" WBBM-LOCAL CHICAGO MOTOR CLUB Staff Stars: Olan Soule, Patricia Dunlap . "A FRIEND OF GERTRUDE'S" (05-14-39) 30:00 Minutes and staring Gail Henshaw, Bret Morrison, Leslie Woods, Herb Butterfield, Bill Bouchey. Gail Henshaw.

"Christmas Double Feature" Episode#61 (12-20-42) and Episode# 424 (12-26-51)December 20, 1942. NBC network. Sponsored by: Kraft Parkay. Christmas program. As Leila leaves for the South, Gildersleeve buys a present for Judge Hooker, the old goat! Arthur Q. Bryan, Billy Mills (composer, conductor), Earle Ross, Harold Peary, John Whedon (writer), Ken Carpenter (announcer), Lillian Randolph, Lurene Tuttle, Richard LeGrand, Shirley Mitchell (?), Verna Felton, Walter Tetley. 29:28.December 26, 1951. NBC network. Sponsored by: Philadelphia Cream Cheese, Kraft Mustards. Babs Bullard has given Leroy an expensive watch, and he's given her a string of pearls! Gildersleeve and Bullard agree that the gifts must be returned. Andy White (writer), Barbara Whiting, Bud Hiestand (announcer), Earle Ross, Frank Pittman (producer, director), Gale Gordon, John Elliotte (writer), Leon Frye (engineer), Lillian Randolph, Marylee Robb, Monte Fraser (sound effects), Paul West (writer), Richard Crenna, Richard LeGrand, Virgil Rhymer (NBC liaion), Walter Tetley, Willard Waterman. 29:37.

In October of 1934, "Lux Radio Theater" debuted in New York on NBC's Blue radio network. Presenting audio versions of popular Broadway plays, the show failed to garner an audience and soon ran out of material. After switching networks to CBS and moving to Hollywood, Lux found its true market. The show began featuring adaptations of popular films, performed by as many of the original stars as possible. With an endless supply of hit films scripts and an audience of more than 40 million, Lux enjoyed a prosperous run until the curtain fell in 1956.

Blackie was a tough, wisecracking private detective working in New York, billed as "enemy to those who make him an enemy, friend to those who have no friend." His speciality was making fools of the police, a simple task with Inspector Farraday heading the official investigations. "An enemy to those who call him an enemy, a friend to those who have no friends." Boston Blackie is a reformed jewel thief who is never far from trouble. Inspector Farraday of the homicide squad tries to pin Blackie for the crime in every episode. To save his own skin, with the help of his girlfriend Mary and sidekick Shorty, Blackie ends up solving the case.

Broadway Is My Beat, a radio crime drama, ran on CBS from February 27, 1949 to August 1, 1954. With music by Robert Stringer, the show originated from New York during its first three months on the air, with Anthony Ross portraying Times Square Detective Danny Clover. John Dietz directed for producer Lester Gottlieb. Beginning with the July 7, 1949 episode, the series was broadcast from Hollywood with producer Elliott Lewis directing a new cast in scripts by Morton Fine and David Friedkin. The opening theme of "I'll Take Manhattan" introduced Detective Danny Clover (now played by Larry Thor), a hardened New York City cop who worked homicide "from Times Square to Columbus Circle -- the gaudiest, the most violent, the lonesomest mile in the world."

This 30 minute anthology program was heard over three different networks during its three seasons. Many leading Hollywood stars appeared before the microphones for this programs original scripts. Marilyn Monroe made her radio debut on the 08/31/52 broadcast. Several programs were intended to become new series. On 04/13/52, the broadcast # 99 of The Six Shooter w/James Stewart did indeed become a new NBC series The Six Shooter in 1953, while the broadcast of 05/18/52 #104 Safari w/Ray Milland failed to make it. There was a title change to this series. During the third network change to NBC the series picked up the sponsorship of the American Bakers and the series was called Bakerâs Theater Of Stars.

"Milton Berle Christmas Show" (12-23-47) and "Philco Radio Time Christmas Show" (12-24-47)Christmas time, in the 1930s and the 1940's meant putting a log in the fire, making a big dinner, putting up a tree, and listening to the radio. No television, no internet, the main source of entertainment was The Radio. The series that were on at the time were directly out of Vaudeville. Jack Benny, Fred Allen, Fibber and Molly. Yet there holiday shows remain as relivant as ever in a world filled with war.

Curtain Time, like First Nighter, presented romantic drama in a theater setting complete with the announcer shouting, âTickets please, thank youâ. The shows announcer was Harry Halcomb who was later known best for his appearances on the 60 minutes television show. Great scripts and superb acting, Curtain Time is truly an Old Time Radio Classic. Mutual Network, local KNX show sustained, heard Fridays 7:30 - 8:00 pm.

Bulldog Drummond has come to wreak havoc on unsuspecting killers, counterfeiters, and underworld characters. The opening of the show starts with a the sounds of footsteps, foghorn, then two shots ring out, followed by three blows of a police officer's whistle. Bulldog, who's really name is Hugh (played by George Coulouris), was a methodical crime-solving sleuth who let nothing get in his way of his goal, which was to put a stop to crime! Bulldog believed in uncomplicated and decisive means of getting his way with the lords of the underworld. This usually led to their swift capture, and the easing of the city's burden brought about by these ruthless thugs.

From 01/09/49 to 09/28/51 this series was greatly enjoyed by the radio listening audience. It opened as NBC Theater and was also known as The Screen Directorâs Guild and The Screen Directorâs Assignment. But most people remember it simply as Screen Directorâs Playhouse. Many of the Hollywood elite were heard recreating their screen roles over the radio. John Wayne in his rare radio appearances, Cary Grant, Edward G. Robinson, Lucille Ball, Claire Trevor, Tallulah Bankhead and many others were on the air week after week during these broadcasts. Many of Hollywoodâs directors were also heard in the recreation of their movies. The President of the Screen Directorâs Guild appeared on 02/13/49, and Violinist Isaac Stern supplied the music for the 04/19/51 broadcast.

Yours Truly, Johnny Dollar was a radio drama about a freelance insurance investigator "with the action-packed expense account." The show aired on CBS Radio from February 11, 1949 to September 30, 1962. There were 811 episodes in the 12-year run, and over 720 still exist today. As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favor of other projects. The role went instead to Charles Russell. With the first three actors to play Johnny Dollar -- radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund -- there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were protected. After a year-long break (August 1954 to August 1955), the show changed from a 30-minute, one-episode-per-week affair to a 15-minute, five-nights-a-week serial that introduced the most successful Johnny Dollar: Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time (minus commercials), it became possible to develop more complex story lines with interesting characters. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. It is agreed by many that this single season of five-part stories constitute some of the greatest drama in vintage radio. The serial scripts were usually written by radio veterans Jack Johnstone or Les Crutchfield, and always produced and directed by Johnstone.

"INHERITANCE" A Dramatized look into American History. NBC Networ in cooperation with the AMERICAN LEGION Sundays 4:30 - 5:00 pm PRUDUCER/DIRECTOR: Albert McCleary ANNOUNCER: John Wald MUSIC: Robert Armbruster. THIS EPISODE"THE MOUNTAIN MEN" 2 04-18-54 :29:20 Howard Culver, Parley Baer, Robert Easton, Alice Bacus, Billy Chappin, Donald Laughton, Stanley Farrer, Gil Harmon, Mike Darrin.

Although Molle Mystery Theatre was initially sponsored by Molle Shaving Cream, other sponsors (such as Bayer Aspirin, Ironized Yeast, Phillips Milk of Magnesia) also sponsored the program. Sometimes, when it was not sponsored by Molle, the program was called "Mystery Theater". The show was first heard on NBC, on 9/7/43. Time slot was originally Sunday nights at 9:00 PM, but was later moved to Tuesday at 9:00 PM, and Friday at 10:00 PM. In 1948, the show moved to CBS (Tues, 8:00 PM), and in 1951, it moved to ABC, where it was called "Mark Sabre", and heard on Wednesdays at either 8:00 PM or 9:30 PM.

Hancock's Half-Hour is the yardstick against which all subsequent British sitcoms have been measured, the vast majority failing to size up to its extremely high standards. Based on his famous radio show of the same name, the TV run consolidated Tony Hancock's standing as Britain's leading comic of the day, the entertainer providing ample proof that his wonderfully flexible face could be as expressive as his dextrous radio voice. Tony Hancock was at the height of his powers during the late 1950s, squeezing every comic ounce out of his lines, pulling off perfectly judged pauses and demonstrating a sense of timing to match the great Jack Benny's. His character - Anthony Aloysius St John Hancock - was invariably a loser, whose aspirations and plans were dashed by fate, circumstance, Sid James or, more often than not, his own pomposity or unfettered ambition.

The BBC presents "Guilty Party". A problem in Crime detection in which you are invited to match your wits with a panel of experts - John Arlott, F.R. Buckley and Robert Fabian. So began a typical episode of the long running panel show. It was devised by Tony Shryane and Edward J. Mason. The scripts were written by Mason and the series produced by Shryane. The shows started with a dramatised crime play, the panel then decided on a line of investigation and cross examined the suspects, who gave unscripted answers to their questions. This cross examination should then lead the panel to the Guilty Party! From the Second series, two regular characters were featured in the dramatisations. Private detective Joe McCready (Jon Farrell) and Police Inspector Galloway (Hamilton Dyce).

Gang Busters was an American dramatic radio program heralded as "the only national program that brings you authentic police case histories." It premiered as G-Men, sponsored by Chevrolet, on July 20, 1935. After the title was changed to Gang Busters January 15, 1936, the show had a 21-year run through November 20, 1957. Beginning with a barrage of loud sound effects â guns firing and tires squealing â this intrusive introduction led to the popular catch phrase "came on like Gang Busters."The series dramatized FBI cases, which producer-director Phillips H. Lord arranged in close association with Bureau director J. Edgar Hoover. Hoover insisted that only closed cases would be used. The initial series was on NBC Radio from July 20 - October 12, 1935. It then aired on CBS from January 15, 1936 to June 15, 1940, sponsored by Colgate-Palmolive and Cue magazine. From October 11, 1940 to December 25, 1948, it was heard on the Blue Network, with various sponsors that included Sloan's Liniment, Waterman pens and Tide. Returning to CBS on January 8, 1949, it ran until June 25, 1955, sponsored by Grape-Nuts and Wrigley's chewing gum. The final series was on the Mutual Broadcasting System from October 5, 1955 to November 27, 1957. It was once narrated by Norman Schwarzkopf, Sr., former head of the New Jersey State Police. The radio series was adapted for DC Comics, Big Little Books and a 1942 movie serial. The 1952 Gang Busters TV series was reedited into two feature films, Gang Busters (1954) and Guns Don't Argue (1957).

This 1958 BBC production from the Journey Into Space series takes us on a wild 12-part adventure to the moon. Captain "Jet" Morgan, Stephen "Mitch" Mitchell, Doc Matthews , and Lemmy Barnet are the first astronauts to reach the moon, and what they find there is truly astonishing! Airing weekly beginning March 26, 1958, the show featured Andrew Faulds, David Williams, Guy Kingsley Pointer, and Alfie Bass.

Thus with the pounding of the gavel, the fate of men and women have been decided by the judge. This is the story of our legal rights, the battle to preserve and protect them, and how easily they can be lost. The program shows us just how fragile liberty and justice can be. These stories of everyday events are still interesting, even after 50 years. Stories of criminal liability, legal wills, buying on installment, and leasing an apartment. Each story is well written, and the acting, though dated and a bit hokey by todayâs standards, still manages to achieve the desired effect. Not much information is available for this series, it was apparently broadcast on a limited basis, and originated on WMAQ Chicago, an NBC station. It was comprised of thirteen episodes, twelve of which are currently available, and was heard from January 30, 1954 through April 24, 1954.

BOXCARS711 CHRISTMAS SHOWFibber McGee and Molly. December 23, 1952. NBC network. Sponsored by: Reynolds Aluminum. Fibber and his friends are planning a surprise Christmas party for Doc Gamble. "Teeny" sings, "Twas The Night Before Christmas" with The King's Men. Unedited tape or rehearsal. The recording ends after the song, there is no program closing. Arthur Q. Bryan, Bill Thompson, Billy Mills and His Orchestra, Harlow Wilcox, Jim Jordan, Keith Fowler (writer), Marian Jordan, Max Hutto (director), Phil Leslie (writer), Richard LeGrand, The King's Men. 29:41.

Episodes5 (Once To Every Boy) and Episode6 (Cupid Without Wings) 1932Dramatic Serial (1932)The Family Doctor was a story about Dr. Grant Adams, a small town doctor who doubled as the communityâs moral rectifier. He was more than just respected, he was loved by all. Each week he confronted issues from robbery to suicide, and always with common sense and gentle moral judgment. Though his old-fashioned remedies for sicknesses are outdated compared to modern medical practicing, The Family Doctor's attitude towards life's daily issues transcend time. Of the 39 intended episodes, only 12 were aired.Boxcars711 supports the efforts of the Old Time Radio Researchers Group (OTRR) whose goals include restoring, preserving and sharing the classic shows from what is commonly known as the "Golden Age of Radio" (1930-1960). Please visit and support this great organization at:http://www.otrr.org/

The City. June 28, 1947. CBS network. "Airport". Sustaining. "An impression for radio." "A cross section of the thousands of stories and dramas that are enacted daily in the city." Anne Morrison, Dave Vaille (? director), Earl Lee, Frank Burt (writer), Rita Lynn, Robert Libbott (writer), Sandy Becker, Wilbur Hatch (music), Norman Macdonnell (producer, director), Frank Goss (announcer), Gil Warren, Herb Butterfield, Leonore Kingston, Monty Margetts. 24:39.

Police Melodrama1-19-47 thru 3-7-57 . Mutual network. Many weekly timeslots. Presented in cooperation with Official Detective Stories Magazine. CAST: Craig McDonnell as Detective Lt. Dan Britt. Tommy Evans as Sgt. Al Bowen. Directed by Wynn Wright.

For the 1970âs late-night horror show, The Price of Fear, the BBC dramatized the most chilling stories they could find, drawing on talented new writers as well as the established master of terror who narrated tale, re-written as though Price actually experienced each chilling adventure himself. The show was enormously successful in the UK and abroad, and a number of series were made during 1973, 1975 and 1982.

Crime Classics. June 30, 1954. CBS net origination, AFRTS rebroadcast. "Good Evening, My Name Is Jack The Ripper". The story of the activities of the famed British slasher, as seen through the eyes of a young lass. The last show of the series. AFRTS program name: "Mystery Theatre." The AFRTS version omits the opening scene. AFRTS broadcast date: November 11, 1973. See cat. #73753 for an AFRTS version, not in the "Mystery Theatre" format that is a more complete version of this broadcast. Lou Merrill (host), Morton Fine (writer), David Friedkin (writer), Elliott Lewis (producer, director), Bernard Herrmann (composer, conductor), Betty Harford, B. J. Thompson, Irene Tedrow, Ben Wright, Paula Winslowe, James McCallion, Richard Peel, Roy Rowan (announcer). 25 minutes.

The unmistakable voice of Bud Flanagan singing 'Who Do You Think You Are Kidding, Mr Hitler?', a cod-Second World War propaganda singalong written especially for the show (by Jimmy Perry), introduced Dad's Army, the zenith of the British broad-comedy ensemble sitcom. Consistently good writing and a wonderful cast of old timers and newer talents combined to produce a whimsical period-piece that continues, justifiably, to be savoured and has now assumed a place in the 'hall of greats' pantheon, adored by new generations of the British public.

That eminent criminologist, Dr. Morelle, has just solved another crime and incidentally administered a crushing rebuke to his pretty secretary Miss Frayle. This is his usual reaction to his somewhat scatterbrained amanuensis, but it does not seem to have put the smallest dent in her devotion to the psychiatrist whose infallibility is the despair of criminals and the delight of his friend Inspector Hood of Scotland Yard. Dr. Morelle has had some time to form these theories, having started his career as a sleuth in the early years of the war. "He was dreamed up in a coal cellar in Bristol, said his creator Ernest Dudley. It was 1940, and the coal cellar underneath my flat provided a comforting place during the Luftwaffeâs attacks on Bristol, where I was with the BBC Variety Department. I wrote the original series called Meet Dr. Morelle for Harry Pepper and Ronnie Waldmanâs famous show, Monday Night at Eight. I was briefed to get right away from the Scotland Yard detective idea; and also to provide a comedy role in the series for Jane Grahame, who had made a success in several radio shows. Since Miss Grahame was in private life my wife, I was quite happy about this."

The Clitheroe Kid was James Robertson Clitheroe, Jimmy Clitheroe to most, who by some strange coincidence did come from the town of that name without having to change his family name! At his full height he was 4ft 3in, and played the naughty schoolboy from 1958 to 1972. Although plausable from a distance, he was not really able to pass himself off as a youngster close up, so a TV career did not really take off too well, but at the peak of his fame the radio show was raking in about 10 million listeners, although by the end this had dropped to a tenth of that figure. Clitheroe was a very private person, and the shows became a sort of escape for him, as well as the release from the worries of his diminutive size, but despite this, his popularity increased and increased, making this series one of the longer running on the radio - a total of 17 series. It is surprising then that with such a success, and with such a long run that the shows are rarely broadcast. The humour was very obvious and probably wouldn't stand up in todays climes, but there has been one release from the BBC radio collection, so if you wanted to hear some of the shows, you can hunt this down in the shops.

ROCKY JORDAN was the title character of one of the better and more exotic radio detective series. In fact, it's one of the best detective series I have ever heard. The series had two separate incarnations. The first, A Man Named Jordan, started as a daily 15 minute show and after about six months changed to a weekly 30 minute show. It took place in Istanbul and the Cafe was described as "a small restaurant in a narrow street off Istanbul's Grand Bazaar, permeated with by the smoke of Oriental tobacco, alive with the babble of many tongues, and packed with intrigue." The second incarnation, Rocky Jordan, was a weekly 30 minute series took place in Cairo - "the gateway to the ancient East where adventure and intrigue unfold against the backdrop of antiquity." Jordan was a hard-boiled owner of the Cafe Tambourine who spent most of his time solving mysteries that he usually became involved in by accident. During the Cairo-based run, he often encountered Captain Sam Sabaaya of the Cairo police. John Dunning in his "On The Air: The Encyclopedia of Old Time Radio" describes Jordan as "a rugged hero who each week was confronted by a crime, a mystery, a beautiful woman or a combination of the three. It was a detective show with a difference: the Oriental background was played to the hilt, giving it a sound like no other." The writers worked hard to give it authenticity - actual places and streets in Cairo were often and accurately mentioned. The music score also added to the exoticness of the series. Moyles, a veteran of radio, was much more believable in the role than Raft.

he Great Gildersleeve (1941-1957), initially written by Leonard L. Levinson, was arguably the first spin-off program in broadcast history. Built around a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity. On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis ("You're a haa-aa-aa-aard man, McGee!" became a Gildersleeve catch phrase). But he also became a popular enough windbag that Kraft Foods â looking primarily to promote its Parkay margarine spread â sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly, and on one episode of that show revealed his middle name as Philharmonic) as the central, slightly softened, and slightly befuddled focus of a lively new family.

From 01/09/49 to 09/28/51 this series was greatly enjoyed by the radio listening audience. It opened as NBC Theater and was also known as The Screen Directorâs Guild and The Screen Directorâs Assignment. But most people remember it simply as Screen Directorâs Playhouse. Many of the Hollywood elite were heard recreating their screen roles over the radio. John Wayne in his rare radio appearances, Cary Grant, Edward G. Robinson, Lucille Ball, Claire Trevor, Tallulah Bankhead and many others were on the air week after week during these broadcasts. Many of Hollywoodâs directors were also heard in the recreation of their movies. The President of the Screen Directorâs Guild appeared on 02/13/49, and Violinist Isaac Stern supplied the music for the 04/19/51 broadcast. THIS EPISODE:June 5, 1949. NBC network. "The Killers". Sustaining. Screen director Robert Siodmak appears. After a $200,000 robbery, a gangster just out of jail double crosses the gang and is double crossed in turn. Burt Lancaster, Dan Riss, Frank Barton (announcer), Frank Gerstle, Gwen Delano, Milton Geiger (adaptor), Robert Siodmak (guest screen director), Sam Edwards, Shelley Winters, Tony Barrett, William Conrad. 29:35.

Our Miss Brooks, an American situation comedy, began as a radio hit in 1948 and migrated to television in 1952, becoming one of the earlier hits of the so-called Golden Age of Television, and making a star out of Eve Arden (1908-1990) as comely, wisecracking, but humane high school English teacher Connie Brooks. The show hooked around Connie's daily relationships with Madison High School students, colleagues, and pompous principal Osgood Conklin (Gale Gordon), not to mention favourite student Walter Denton (future television and Rambo co-star Richard Crenna, who fashioned a higher-pitched voice to play the role) and biology teacher Philip Boynton ( Jeff Chandler), the latter Connie's all-but-unrequited love interest, who saw science everywhere and little else anywhere.

British Science Fictions presents The Closed Planet 10/24/1962 A crippled starship is compelled to make landfall on a remote colony world, where the locals refuse to allow the crew to disembark except under the strictest control. What terrible secret are they hiding?

Amos 'n' Andy, still written entirely by the two stars, was the top-rated program of all in 1930, with a 54.4 rating and 30 million listeners (compare that to the Super Bowl's 44.2 rating in 2004). By this time, the wily, coniving Kingfish was becoming a major personality, eventually supplanting sensible Amos as star of the show (Freeman Gosden gave voice to both characters while Charles Correll played Andrew H. Brown).